Herbert von Karajan

PUCCINI Tabarro, LEONCAVALLO Pagliacci / Levine 0734024

In "Il tabarro" Domingo . . . finds a real connection with the role of Luigi; Stratas sings and acts up a neurotic storm as Giorgetta, while Pons's simple, unhistrionic dignity enriches the ambiguity of the Michele/Giorgetta relationship. Levine conducts both scores with unruffled Karajanesque virtuosity, omitting Italianità or any sense of dramatic struggle. Brian Large's side-angle stage shots flatten out the three-dimensionalism of David Reppa's "Tabarro" setting. Strata's compelling presence on stage and on camera makes this reissue a must.

Record Review /
Mlke Ashman,
Gramophone (London) / 01. December 2005

Pavarotti was singing Canio for the first time on stage, and he does so magnificently, dramatically as well as vocally. Zeffirelli¿s spectacular production (horses, dancing girls, fire-eaters ¿ really, it¿s marvellous) . . . Levine conducts both works with a profound understanding for pacing, rhythm and colour in these tow verismo masterpieces, drawing glorious playing from the Met Orchestra. The opulent sound is as good as any I have heard on an opera DVD.

Record Review /
Nigel Simeone,
International Record Review (London) / 01. January 2006

What an opportunity -- to see two of the "Three Tenors" on the same stage on the same night . . . Add Teresa Stratas, one of the great singing actresses of that era, and a very acceptable Juan Pons in both operas, and it's hard to complain . . . Domingo is an intelligent, believable Luigi in "Il tabarro", and he sings "Hai ben ragione" as if it were a real plum . . . Pavarotti has the vocal goods for this role . . . Kenn Chester is a young and appealing Beppe . . . The picture (4:3) is crisp and clear.

Record Review /
Raymond Tuttle,
Fanfare (Tenafly, NJ) / 01. May 2006

. . . Karajan's special gift for "verismo" and the intriguing pairing of the stylish and passionate Bergonzi with Joan Carlyle just carry the day.